Music Perception Skills Research Articles

Music Perception Abilities and Ambiguous Word Learning: Is There Cross-Domain Transfer in Nonmusicians?

Perception of music and speech is based on similar auditory skills, and it is often suggested that those with enhanced music perception skills may perceive and learn novel words more easily. The current study tested whether music perception abilities are associated with novel word learning in an ambiguous learning scenario. Using a cross-situational word learning (CSWL) task, nonmusician adults were exposed to word-object pairings between eight novel words and visual referents. Novel words were either non-minimal pairs differing in all sounds or minimal pairs differing in their initial consonant or vowel. In order to be successful in this task, learners need to be able to correctly encode the phonological details of the novel words and have sufficient auditory working memory to remember the correct word-object pairings. Using the Mistuning Perception Test (MPT) and the Melodic Discrimination Test (MDT), we measured learners’ pitch perception and auditory working memory. We predicted that those with higher MPT and MDT values would perform better in the CSWL task and in particular for novel words with high phonological overlap (i.e., minimal pairs). We found that higher musical perception skills led to higher accuracy for non-minimal pairs and minimal pairs differing in their initial consonant. Interestingly, this was not the case for vowel minimal pairs. We discuss the results in relation to theories of second language word learning such as the Second Language Perception model (L2LP).

Exploring the Music Perception Skills of Crowd Workers

Music content annotation campaigns are common on paid crowdsourcing platforms. Crowd workers are expected to annotate complicated music artefacts, which can demand certain skills and expertise. Traditional methods of participant selection are not designed to capture these kind of domain-specific skills and expertise, and often domain-specific questions fall under the general demographics category. Despite the popularity of such tasks, there is a general lack of deeper understanding of the distribution of musical properties - especially auditory perception skills - among workers. To address this knowledge gap, we conducted a user study (N=100) on Prolific. We asked workers to indicate their musical sophistication through a questionnaire and assessed their music perception skills through an audio-based skill test. The goal of this work is to better understand the extent to which crowd workers possess higher perceptions skills, beyond their own musical education level and self reported abilities. Our study shows that untrained crowd workers can possess high perception skills on the music elements of melody, tuning, accent and tempo; skills that can be useful in a plethora of annotation tasks in the music domain.

Are there predictors of flexible ureteroscopic aptitude among novice trainees? objective assessment using simulation-based trainer.

Non-surgical skills involving hand-eye coordination and bimanual dexterity may have a transferable impact on the acquisition of ureteroscopy skills. In this study, we aim to investigate the predictors of initial flexible ureteroscopy skills among novice trainees. This was a prospective study involving students with no prior ureteroscopy exposure. Non-surgical parameters were assessed with a detailed survey, including demographics, video game, and musical history. Musical ability was objectively evaluated with the mini-Profile of Music Perception Skills test. Ureteroscopic performance was evaluated using a Boston Scientific© flexible ureteroscope on a bench model. Each participant completed diagnostic ureteroscopy and stone extraction. Outcomes included both speed and quality of performance, based on an Objective Structured Assessment of Technical Skills rubric. A total of 28 pre-clerkship medical students and 10 urology residents were included. Age and musical background were not associated with ureteroscopic aptitude. Those with video game history tended to perform ureteroscopy tasks faster with a higher OSATS score, although no statistical significance was reached. Male gender was associated with faster task completion with statistically higher OSATS score independent of video game activities (p = 0.011), however, the absolute score difference was small. Among novice trainees, musical and video game experience was not predictive of ureteroscopy skills. Male gender was associated with slightly faster and higher ureteroscopy technique scores, however, the differences are small and unlikely to represent clinical significance. Nevertheless, the use of ureteroscopy trainer provides useful insights and should be adopted in training programs as a marker of skills progression.

Dissociating sensitivity from bias in the mini profile of music perception skills

The Mini Profile of Music Perception Skills (Mini-PROMS) is a widely used objective measure of musical competence that has been validated for online data collection [Law and Zentner, PLoS One 7, e52508 (2012); Zentner and Strauss, Ann. NY. Acad. Sci. 1400, 33–45 (2017)]. This measure involves determining whether a comparison melody is the same or different from a standard on a 5-point scale (“definitely different”, “probably different”, “I don’t know”, “probably same”, or “definitely same”). The traditional PROMS scoring method is to calculate a composite score, which differentially weights correct responses based on participant confidence. In this method, a high score can only be achieved with a confident response bias. The present study employed signal detection theory to calculate the participants’ sensitivity (d′), which is a bias-free measure of sensitivity if the signal and noise distributions (1) are normally distributed and (2) have roughly equal variance. 74 participants were tested on the Mini-PROMS with the purpose of calculating empirical ROC curves to test whether the assumptions of normality and variance are met. The study findings will provide important insight into how using different analysis methods might improve the validity of the Mini-PROMS. [Work supported by NIH grant R01 DC005216.]

THE IMPORTANCE OF AESTHETIC EDUCATION IN THE FORMATION OF PERFORMANCE AND CREATIVE SKILLS OF STUDENTS IN MUSIC LESSONS IN SECONDARY SCHOOLS

This article discusses the role of scientists in the development of performance and creative skills of students, as well as their approach to music. Information on the aesthetics of music is also covered in theoretical theory. Important factors in the active development of musical perception skills in musical aesthetic education have been identified.

Musical Hearing and Musical Experience in Second Language English Vowel Acquisition.

Purpose Former studies suggested that music perception can help produce certain accentual features in the first and second language (L2), such as intonational contours. What was missing in many of these studies was the identification of the exact relationship between specific music perception skills and the production of different accentual features in a foreign language. Our aim was to verify whether empirically tested musical hearing skills can be related to the acquisition of English vowels by learners of English as an L2 before and after a formal accent training course. Method Fifty adult Polish speakers of L2 English were tested before and after a two-semester accent training in order to observe the effect of musical hearing on the acquisition of English vowels. Their L2 English vowel formant contours produced in consonant-vowel-consonant context were compared with the target General British vowels produced by their pronunciation teachers. We juxtaposed these results with their musical hearing test scores and self-reported musical experience to observe a possible relationship between successful L2 vowel acquisition and musical aptitude. Results Preexisting rhythmic memory was reported as a significant predictor before training, while musical experience was reported as a significant factor in the production of more native-like L2 vowels after training. We also observed that not all vowels were equally acquired or affected by musical hearing or musical experience. The strongest estimate we observed was the closeness to model before training, suggesting that learners who already managed to acquire some features of a native-like accent were also more successful after training. Conclusions Our results are revealing in two aspects. First, the learners' former proficiency in L2 pronunciation is the most robust predictor in acquiring a native-like accent. Second, there is a potential relationship between rhythmic memory and L2 vowel acquisition before training, as well as years of musical experience after training, suggesting that specific musical skills and music practice can be an asset in learning a foreign language accent.

Music Perception and Speech-in-Noise Skills of Typical Hearing and Cochlear Implant Listeners.

Purpose Adult cochlear implant (CI) users rate music as one of the most important auditory stimuli, second to speech perception. However, few studies simultaneously examine music perception and speech-in-noise perception in adult CI recipients. This study explores the effect of auditory status on music perception and speech-in-noise perception recognition in noise as well as the relationship among music engagement, music perception, and speech-in-noise perception. Method Participants include 10 adults with typical hearing (TH) and 10 adults with long-term CI use. All participants completed the Music-Related Quality of Life Questionnaire, which assesses subjective music experiences and their importance; the Pitch Direction Discrimination, Familiar Melody Recognition, and Timbre Recognition subtests of the Clinical Assessment of Music Perception for Cochlear Implants; the Unfamiliar Melody Recognition subtest of the Profile of Music Perception Skills; and the Bamford-Kowal-Bench Speech-in-Noise Test. Results The TH group significantly outperformed the CI group for speech-in-noise perception and on all four music perception tasks. The CI group exhibited not only significantly poorer mean scores but also greater variability in performance compared to the TH group. Only Familiar Melody Recognition and Unfamiliar Melody Recognition subtests significantly correlated with speech-in-noise scores. Conclusions Patients and professionals should not assume speech perception and music perception in adult CI users derive from the same auditory or cognitive foundations. The lack of significant relationships among music engagement, music perception, and speech-in-noise perception scores in adult CI users suggests this population enjoys music despite poor and variable performance in discrete music tasks.

Influence of musical background on surgical skills acquisition

BackgroundThere is growing interest in identifying trainees with surgical aptitude predictive of eventual technical proficiency. Musical tasks involve complex, cerebral activity, and ambidextrousity, which may have a positive impact on the acquisition of surgical skill sets. The purpose of this study was to investigate the influence of prior musical experience on the performance of basic surgical skills. MethodsThis was a prospective cross-sectional study involving 51 novice undergraduate and medical school trainees with no prior surgical exposure. Musicality was assessed with a detailed survey and objectively with the Mini-Profile of Music Perception Skills test. Dexterity was assessed using the Purdue Pegboard test. Surgical skills were then evaluated by performing 2 timed suturing trials after observing tutorial video, followed by a timed laparoscopic peg transfer test. Outcomes included both speed and quality of performance. ResultsParticipants with prior musical experience performed better than nonmusicians on the Mini-Profile of Music Perception Skills test (P = .015), dominant hand dexterity (P = .05), suture quality (P < .03), and laparoscopic peg transfer speed (P < .01). There was no significant difference in the suturing speed between musicians and nonmusicians. The dexterity and Mini-Profile of Music Perception Skills scores were predictive of suture quality (P < .01). Among musicians, duration of musical training, inactivity, instrument type, and certification levels did not correlate with differences in surgical task performance. ConclusionMusical background is associated with better performance of fundamental surgical skills among surgical novices, particularly technique quality. Although this does not imply superior ultimate surgical ability, musicality may be a marker for basic surgical skill development useful in identifying suitable candidates for surgical training.

Wired for musical rhythm? A diffusion MRI-based study of individual differences in music perception.

Music perceptual abilities are subjective and exhibit high inter-individual variability. Twenty-nine participants with varying degrees of musical training were tested for musical perception ability with the Profile of Music Perception Skills (PROMS) and brain structural measures obtained via diffusion tensor imaging. Controlling for the period of training, TBSS results showed that individuals with better musical perception abilities showed increased deviations from linear anisotropy in the corpus callosum. Specifically, mode of anisotropy in the genu and body of the corpus callosum was negatively correlated with music perception score suggesting the presence of crossing fibers. A multi-compartment model of crossing fibers revealed a significant positive relation for partial volumes of secondary fiber populations with timing aspects of music perception. Our results suggest that inter-hemispheric connectivity differences in the anterior parts of the corpus callosum may reflect innate differences in the processing of the rhythmic aspects of music.

Inherent auditory skills rather than formal music training shape the neural encoding of speech

Musical training is associated with a myriad of neuroplastic changes in the brain, including more robust and efficient neural processing of clean and degraded speech signals at brainstem and cortical levels. These assumptions stem largely from cross-sectional studies between musicians and nonmusicians which cannot address whether training itself is sufficient to induce physiological changes or whether preexisting superiority in auditory function before training predisposes individuals to pursue musical interests and appear to have similar neuroplastic benefits as musicians. Here, we recorded neuroelectric brain activity to clear and noise-degraded speech sounds in individuals without formal music training but who differed in their receptive musical perceptual abilities as assessed objectively via the Profile of Music Perception Skills. We found that listeners with naturally more adept listening skills ("musical sleepers") had enhanced frequency-following responses to speech that were also more resilient to the detrimental effects of noise, consistent with the increased fidelity of speech encoding and speech-in-noise benefits observed previously in highly trained musicians. Further comparisons between these musical sleepers and actual trained musicians suggested that experience provides an additional boost to the neural encoding and perception of speech. Collectively, our findings suggest that the auditory neuroplasticity of music engagement likely involves a layering of both preexisting (nature) and experience-driven (nurture) factors in complex sound processing. In the absence of formal training, individuals with intrinsically proficient auditory systems can exhibit musician-like auditory function that can be further shaped in an experience-dependent manner.

Explaining the association between music training and reading in adults.

We sought to clarify whether the positive association between music lessons and reading ability is explained better by shared resources for processing pitch and temporal information, or by general cognitive abilities. Participants were native and nonnative speakers of English with varying levels of music training. We measured reading ability (comprehension and speed), music-perception skills (melody and rhythm), general cognitive ability (nonverbal intelligence, short-term memory, and working memory), and socioeconomic status (SES; family income, parents' education). Reading ability was associated positively with music training, English as a native language, and general cognitive ability. The association between reading and music training was significant after SES, native language, and music-perception skills were controlled. After general cognitive abilities were held constant, however, there was no longer an association between reading and music training. These findings suggest that the association between reading ability and music training is a consequence of general cognitive abilities. (PsycINFO Database Record

Utility of a musical mnemonic to teach CPR compression rate based on musical skills.

The aim of this study was to explore whether healthcare providers’ perceptual musical skill affects the rate at which they give chest compressions while using a popular medical mnemonic. In the authors’ experiences, medical personnel are commonly taught to administer chest compressions to the beat of the classic disco song ‘Stayin’ Alive’ by the Bee Gees, which has a rhythm of 103 beats per minute. In this observational cohort study, physicians and nurses sang ‘Stayin’ Alive’ and then performed chest compressions on a manikin. The subjects were divided into two groups depending on their performance on the rhythm and tempo subtests of the Profile of Music Perception Skills test. Those scored in the top 50th percentile and those who scored in the bottom 50th percentile spent 27% and 52% of the time, respectively, in the prescribed 100–120 compressions per minute range, with a mean difference of 25% (95% CI −4% to 53%). Each year, approximately 535 200 individuals experience a sudden cardiac arrest in the USA. 209 000 of these events occur in the hospital setting, where survival to hospital discharge is only 25.4%.1 Quality cardiopulmonary resuscitation (CPR), specifically deep compressions at a proper rate of at least 100 compressions per minute …

Assessing musical ability quickly and objectively: development and validation of the Short-PROMS and the Mini-PROMS.

The study of musical ability has gained considerable traction across disciplines in recent years. In comparison, less effort has been invested in the development of sound measures of musical ability. To redress this gap, we conducted four studies to empirically validate two brief measures derived from the Profile of Music Perception Skills (PROMS)-an exceptionally inclusive battery of musical abilities that takes about 1 h to complete. In the Short-PROMS, test duration was reduced to less than half an hour by substantially reducing the number of trials per subtest. In the Mini-PROMS, the number of subtests was reduced to four, resulting in a battery that takes 15 min to complete. Both measures exhibited good internal consistency and retest reliability. Support for convergent, discriminant, and criterion validity was found across the studies. Additional strengths of the new instruments include their suitability for online administration and a feature called Modular PROMS, which offers researchers the possibility to request customized batteries that may include any combination of the subtests. The role of refining objective assessment instruments in research on music and the mind is discussed.

Assessing Music Perception in Young Children: Evidence for and Psychometric Features of the M-Factor.

Given the relationship between language acquisition and music processing, musical perception (MP) skills have been proposed as a tool for early diagnosis of speech and language difficulties; therefore, a psychometric instrument is needed to assess music perception in children under 10 years of age, a crucial period in neurodevelopment. We created a set of 80 musical stimuli encompassing seven domains of music perception to inform perception of tonal, atonal, and modal stimuli, in a random sample of 1006 children, 6–13 years of age, equally distributed from first to fifth grades, from 14 schools (38% private schools) in So Paulo State. The underlying model was tested using confirmatory factor analysis. A model encompassing seven orthogonal specific domains (contour, loudness, scale, timbre, duration, pitch, and meter) and one general music perception factor, the “m-factor,” showed excellent fit indices. The m-factor, previously hypothesized in the literature but never formally tested, explains 93% of the reliable variance in measurement, while only 3.9% of the reliable variance could be attributed to the multidimensionality caused by the specific domains. The 80 items showed no differential item functioning based on sex, age, or enrolment in public vs. private school, demonstrating the important psychometric feature of invariance. Like Charles Spearman's g-factor of intelligence, the m-factor is robust and reliable. It provides a convenient measure of auditory stimulus apprehension that does not rely on verbal information, offering a new opportunity to probe biological and psychological relationships with music perception phenomena and the etiologies of speech and language disorders.

The Working Memory of Musicians and Nonmusicians

Musicians have superior performances compared to nonmusicians in many auditory perception tasks. This superiority extends to memory tasks such as the digit span. Literature suggests that the musicians’ advantage unfolds along two axes: sensory modality (musicians perform better when the task is auditory) and task complexity (musicians tend to perform better in the forward and not — for example — backward digit span). In addition, it is unclear whether there are specific music abilities linked with improved performance in the digit span. Here, musicians and nonmusicians performed a digit span task that was presented aurally, visually, or audiovisually. The task was performed with or without a concurrent task (i.e., articulatory suppression) in order to explore the role of rehearsal strategies and also manipulate task complexity. Finally, music abilities of all participants were assessed using the Profile of Music Perception Skills (PROMS) test. Musicians had larger spans than nonmusicians regardless of the sensory modality and the concurrent task. In addition, the auditory and audiovisual spans (but not visual) were correlated with one subscale of the PROMS test. Findings suggest a general advantage of musicians over nonmusicians in verbal working memory tasks, with a possible role of sensory modality and task complexity.

An Independent Psychometric Evaluation of the PROMS Measure of Music Perception Skills.

The Profile of Music Perception Skills (PROMS) is a recently developed measure of perceptual music skills which has been shown to have promising psychometric properties. In this paper we extend the evaluation of its brief version to three kinds of validity using an individual difference approach. The brief PROMS displays good discriminant validity with working memory, given that it does not correlate with backward digit span (r = .04). Moreover, it shows promising criterion validity (association with musical training (r = .45), musicianship status (r = .48), and self-rated musical talent (r = .51)). Finally, its convergent validity, i.e. relation to an unrelated measure of music perception skills, was assessed by correlating the brief PROMS to harmonic closure judgment accuracy. Two independent samples point to good convergent validity of the brief PROMS (r = .36; r = .40). The same association is still significant in one of the samples when including self-reported music skill in a partial correlation (rpartial = .30; rpartial = .17). Overall, the results show that the brief version of the PROMS displays a very good pattern of construct validity. Especially its tuning subtest stands out as a valuable part for music skill evaluations in Western samples. We conclude by briefly discussing the choice faced by music cognition researchers between different musical aptitude measures of which the brief PROMS is a well evaluated example.

Examining the different variables of musical perception level of the education of undergraduate students’ conservatories in Turkey

This research professionals in various conservatories in Turkey in the field of music education students, with musical perception levels and some variables were studied to reveal the differences that occur in this dimension. 50 students from Mimar Sinan University State Conservatory, 39 students from Istanbul University State Conservatory and 38 students from Karadeniz Technique University State Conservatory so totally 127 Conservatory students, who are the students of the 2 nd , 3 rd and 4th class in 2014-2015 academic year, have been participated in this survey which is a field research done by survey method. In this survey, two basic data collection tools were used. First data collection tool is “Student Information Form” which is aimed to obtain individual knowledge, second data collection tool is “Musical Perception Inventory” developed by G.Otacioglu and Aslan in 2007 to measure musical perception skills of students. Statistical analysis techniques were used to demonstrate the differences between the variables in the study. As a result of the study, there were statistically significant differences between demographic variables and the scores of musical perception

Determining the differences between academic success and perception levels of conservatory students

This research was studied about professionals in the field of music education students, with musical perception levels and some variable to reveal the differences that occur in this dimension. 50 students from Mimar Sinan University State Conservatory, 39 students from Istanbul University State Conservatory and 38 students from Karadeniz Technique University State Conservatory (N=127). Conservatory students, who are the students of the 2nd, 3 rd and 4th class in 2014-2015 academic year, have been participated which is a field research done by survey method. In this survey, two basic data collection tools were used. First data collection tool is “Student Information Form” which is aimed to obtain individual knowledge, second data collection tool is “Musical Perception Inventory” developed by G.Otacioglu and Aslan in 2007 to measure musical perception skills of students. Statistical analysis techniques were used to demonstrate the differences between the variables in the study. As a result of the study, there were statistically significant differences between demographic variables and the scores of musical perception

On the Relationship Between Musicianship and Contralateral Suppression of Transient-Evoked Otoacoustic Emissions.

The medial olivocochlear (MOC) efferent reflex that modulates outer hair cell function has been shown to be more robust in musicians versus nonmusicians as evidenced in greater contralateral suppression of transient-evoked otoacoustic emissions (TEOAEs). All previous research comparing musical ability and MOC efferent strength has defined musicianship dichotomously (i.e., high-level music students or professional classical musicians versus nonmusicians). The objective of the study was to further explore contralateral suppression of TEOAEs among adults with a full spectrum of musicianship ranging from no history of musicianship to professional musicians. Musicianship was defined by both self-report and with an objective test to quantify individual differences in perceptual music skills. A single-factor between-subjects and correlational research designs were employed. Forty-five normal-hearing young adults participated. Participants completed a questionnaire concerning their music experience and completed the Brief Profile of Music Perception Skills (PROMS) to quantify perceptual musical skills across multiple musical domains (i.e., accent, melody, tempo, and tuning). TEOAEs were evaluated with 60 dB peak equivalent sound pressure level click stimuli with and without a contralateral 65 dB sound pressure level white noise suppressor. TEOAE suppression was expressed in two ways, absolute TEOAE suppression in dB and a normalized index of TEOAE suppression (i.e., percentage of suppression). Participants who considered themselves musicians scored significantly higher on all subscales and total Brief PROMS score (p < 0.05). There was no statistically significant difference between musicians and nonmusicians in absolute TEOAE suppression or percentage of TEOAE suppression (p > 0.05). There were no statistically significant correlations or linear predictive relationships between subscale or total Brief PROMS scores with absolute and percentage of TEOAE suppression (p > 0.05). The findings do not support the notion of a graded enhancement of MOC efferent suppression among adults with varied degrees of musicianship from nonmusicians to professional musicians.

How musical are music video game players?

Numerous studies have shown that formal musical training is associated with sensory, motor, and cognitive advantages in individuals of various ages. However, the nature of the observed differences between musicians and nonmusicians is poorly understood, and little is known about the listening skills of individuals who engage in alternative types of everyday musical activities. Here, we show that people who have frequently played music video games outperform nonmusicians controls on a battery of music perception tests. These findings reveal that enhanced musical aptitude can be found among individuals who play music video games, raising the possibility that music video games could potentially enhance music perception skills in individuals across a broad spectrum of society who are otherwise unable to invest the time and/or money required to learn a musical instrument.